Viscount Prestige 60 Quick Manual
- Category
- Sequencer
- Type
- Quick Manual
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CONTENTS
1. Important notes ........................................................................................................................ 3
1.1 Looking after the product ..................................................................................................... 3
1.2 Notes on floppy disks ........................................................................................................... 3
1.3 Notes about the manual ....................................................................................................... .4
2. Controls and connections ......................................................................................................... 5
2.1 The front panel ..................................................................................................................... 5
2.2 The left side panel ................................................................................................................ 5
2.3 The right side panel .............................................................................................................. 6
2.4 The controls for the manuals thumb pistons ........................................................................ 6
2.5 Pedalboard controls .............................................................................................................. 8
2.6 Connections underneath the manuals ................................................................................... 9
2.7 Connections on the rear panel ............................................................................................ 10
2.8 The remote control (optional) ............................................................................................ 12
3. Central control unit ................................................................................................................ 13
4. Organ general settings ........................................................................................................... 16
4.1 Setting the tremulants ......................................................................................................... 17
4.2 Selecting the type of reverb................................................................................................ 17
4.3 General settings for the manuals ........................................................................................ 18
5. Recording and playing back musical performances ........................................................... 20
5.1 Recording a performance ................................................................................................... 20
5.2 Playing back a performance ............................................................................................... 21
6. Voice local off .......................................................................................................................... 22
7. Factory Setting ........................................................................................................................ 22
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1. IMPORTANT NOTES
1.1 LOOKING AFTER THE PRODUCT
• Do not apply excessive force to the organ’s structures or the controls (knobs, stops, push-buttons,
etc.).
• When possible, do not place the instrument close to units which generate strong interference, such as
radios, TVs, computer videos, etc.
• Do not place the organ close to heat sources, in damp or dusty places or in the vicinity of strong
magnetic fields.
• Do not expose the instrument to direct sunlight.
• Never insert foreign bodies inside the instrument or pour liquids of any kind into it.
• For cleaning, use only a soft brush or compressed air; never use detergents, solvents or alcohol.
• Always use good quality screened cables for connection to amplification or diffusion systems. When
disconnecting cables from sockets, always take hold of the connector and not the cable itself; when
winding cables, do not knot or twist them.
• Before making the connections ensure that the other units (especially amplification and diffusion sys-
tems) you are about to connect are switched off. This will prevent noisy or even dangerous signal
peaks.
• If the organ is to be out of use for lengthy periods, disconnect the plug from the power socket.
• Connect the net cable to an earthed socket.
• Check that the voltage corresponds to the voltage shown on the serial number plate of the organ.
1.2 NOTES ON FLOPPY DISKS
• Use only good quality floppy disks.
• Do not extract the floppy disk when reading or writing operations are in progress (when the LED on
the drive is on); this may damage the head and the magnetic medium.
• Use only 3.5" DD and HD (720Kbyte and 1.44Mbyte) floppy disks formatted to the MS-DOS
standard.
• Take good care of your floppy disks and do not place them close to heat sources or magnetic fields
(computer videos, loudspeakers, etc.), or in damp or dusty places.
• The manufacturer does not accept any liability for damage to the floppy disk drive in case of use of
damaged floppy disks.
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1.3 NOTES ABOUT THE MANUAL
• Take good care of this manual.
• This manual is an integral part of the instrument. The descriptions and illustrations in this
publication are not binding.
• While the instrument’s essential characteristics remain the same, the manufacturer reserves the
right to make any modifications to parts, details or accessories considered appropriate to improve
the product or for requirements of a constructional or commercial nature, at any time and without
undertaking to update this publication immediately.
• All rights reserved; the reproduction of any part of this manual, in any form, without the
manufacturer’s specific written permission is forbidden.
• All the trademarks referred to in this manual are the property of the respective manufacturers.
• Please read all the information carefully, sothat you obtain the best performance and will from
your instrument.
• The codes or numbers in square brackets ([]) indicate the names of the buttons, sliders, trimmers
and connectors on the instrument. For example, [ENTER] refers to the ENTER button.
• The illustrations and display pages are purely guideline and may differ from those actually
shown on the display.
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1 2 3
1. [PEDAL] stops: this section contains the voices of the pedal board and the couplers.
o [Great to Pedal]: the voices of the Great will also play on the pedal board.
o [Swell to Pedal]: the voices of Swell will also play on the pedal board.
2. [GREAT] stops: this section contains the stops of the Great as well as the coupler:
o [Swell to Great]: the voices of Swell will also play on the Great
3. [SWELL] stops: these stops can be used to activate the voices of Swell on and off.
2.2 THE LEFT SIDE PANEL
1 2
3
4 5
1. [GREAT ORCHESTRA] stops: this section
contains the Orchestra voices of the Great.
2. [ SWELL ORCHESTRA] stops: this section
contains the Orchestra voices of the Swell.
3. [PEDAL ORCHESTRA] stops: Orchestra
voices of the Pedalboard.
4. [POWER] Switch: in order to switch the
instrument on and off.
5. [EXT. SPK.] switch: in order to switch on
and off the power supply on the [EXT +12
VDC] connector that will be used by the
external speakers.
2. CONTROLS AND CONNECTIONS
2.1 THE FRONT PANEL
NOTE
The couplers do not work with the Orchestra voices.
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2.3 THE RIGHT SIDE PANEL
P. COMB.
M. BANK TRANSPOSERSWELL CRESCENDO
K. INV.
1 2 3 4
5 6
1. [SWELL] LED bar: shows the position of the [SWELL]
expression pedal.
2. [CRESCENDO] LED bar: these LEDs display the step
of the Crescendo currently set with the pedal of the same
name.
3. [M. BANK] selector: in order to select one of the eight
memory banks for memorizing general and/or dedicated
memories.
Thus you will have in total 48 general and 192 dedicated
memories. This feature is particularly useful in case the instrument is used by more than one organist, as
each will be able to save his setting in a different Memory Bank.
4. [TRANSPOSER] selector: sets the instrument’s tuning within a range of +5 / -6 semitones
(adjustments in steps of one semitone).
5. [K. INV.] LED: LED displaying the status of the KEYBOARDS INVERSION function, which
enables the positions of Swell and Choir to be inverted (LED on). To set the function, refer to
par. 4.3.
6. [P. COMB.] LED: LED which displays the status of the PISTON COMBINE function.
When the function is enabled (LED on), the pedal board memories are “coupled” to those of the
Great. In this way when a memory dedicated to the Great is activated, automatically the same
memory is recalled for the pedal board. For how to activate this function, see par. 4.3.
2.4 THE CONTROLS FOR THE MANUAL THUMB PISTONS
3 2B 9 6B 11
1
13
2A
2C
4A
4B
5 6A 7 8
10 12
1. General memories: this section contains the instrument’s general memories. The [MEM+]
buttons can also be used to select the individual memories in ascending order and [MEM-] to
recall them in descending order.
2. Dedicated memories: the Prestige 60 memories also include six dedicated memories for Swell
(2A), Great (2B) and the pedal board (2C). In the dedicated memories it is only possible to save
the set up of the section coupled to the selected memory.
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The memories also include an [HR] button, also known as 0, which recalls the set up that was
present before a memory was activated. The contents of [HR] are not affected by calling up a
memory when another one has previously been activated.
In each memory, whether general or dedicated memory, the following can be saved:
- the voices (including Orchestra)
- the couplers (not in the divisional memories)
- the Tremulants (also with different speed and depth by activating this function on menu
Set-Up, see par. 4.3)
- the MIDI To controls (par.3), MIDI Solo (point 6 of this paragraph) and Program Change
set using the SEND PROGRAM CHANGE function (“Advanced Manual”)
Only in the general memories is it also possible to save:
- the Organ Solo
- the Enclosed and Automatic Pedal (by activating the relevant function, see par. 4.3)
For the memory saving procedure, see point 3.
3. [S] button: “Set” button which enables memory saving. To save a memory, simply press the
[S] button and, keeping it pressed down, then press the button of the memory you wish to save,
whether it is dedicated or general.
4. Pedal couplers buttons: these buttons activate the couplings of the manuals with the pedal
board, as follows:
o [SW/P] (4A): coupling the Swell with the pedal board.
o [G/P] (4B): coupling the Great with the pedal board.
5. [MEM+] and [MEM-] buttons: these buttons can be used to select the general memories in
ascending and descending order.
6. [M.SOLO] button: these buttons control the status of the MIDI Solo function for the Swell
(6A) and Great (6B). By activating this function, on the instrument connected to the [MIDI
OUT] port only the highest note of those pressed down will sound (monophony with priority
given to the highest note).
NOTE
The monophonic notes generated by the MIDI Solo are only sent on MIDI channel B.
For a detailed description of the MIDI channels controlled by the organ see the “Advanced
Manual”.
7. [ENC] button: pressing this button activates the Enclosed function used to control the organ’s
general volume by means of the [SWELL] pedal.
8. [T] button: “Tutti” button, which turns on a preset series of voices and couplers.
The voice composition of the ‘Tutti’ function is programmable. To save a new set up, switch on
the voices and couplers of your choice, press [S] and, keeping it pressed down, then press
button [T] or the [TUTTI] foot piston.
9. [SW/G] button: this button enables the coupling of the Swell with the Great.
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10. [O.SOLO] button: this button controls the status of the Organ Solo function. By activating
this function plus the coupling SW/G the voices of the Swell can be played on the Great in
monophony with priority given to the highest note. On the Swell the voices continue to sound
in polyphony.
11. [A.P.] button: this button enables the Automatic Pedal, used to play the voices of the pedal
board using the first 32 notes of the Great. In this case, the organ pedal board is deactivated and
the voices become monophonic, with priority given to the lowest note.
12. Floppy disk drive: use only 720 Kb or 1.44 Mb 3.5" floppy disks.
13. [C] button: “Cancel” button, which switches off any voices, couplers and buttons on the manual
divisionals which may be on and turns the HR buttons on.
2.5 PEDAL BOARD CONTROLS
1 2 3
4 5
1. General memory pistons: these pistons can be used to recall the organ general memories.
2. [SWELL] pedal: this expression pedal is used to control the volume of the Swell.
3. [CRESCENDO] pedal: this pedal can be used to select the Crescendo steps which activate a
preset series of stops. The step currently selected is displayed by the [CRESCENDO] LED bar
on the centre panel (see also point 2 of par. 2.3).
Each Crescendo step is programmable. To do this, use the [CRESCENDO] pedal to select the
step required, switch on the voices and couplers needed, press button [S] and, keeping it pressed
down, then press the general memories [HR] button.
4. Coupler pistons: these pistons activate the organ couplings described in par. 2.1 and/or 2.3.
5. [TUTTI] piston: the piston used to activate the Tutti. For a more detailed description, refer to point
8 of par. 2.4.
6. [MIDI SUSTAIN] piston: Sustain piston of the Orchestra voices and by which CC64 is sent to
the [MIDI OUT].
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1 2 3 4
1. [HEADPHONES] socket: Jack socket to which a headphone set can be connected.
With headphones connected, the organ’s internal amplification is cut off.
NOTE
For optimum performance from the [HEADPHONES] output it is recommended that
headphones with a minimum impedance of 16
Ω
be used.
3. [INPUT] sockets: RCA input sockets which allow other instruments to be played using the
organ’s internal amplification. If the source is monophonic use the [L(MONO)] connector only.
4. [OUTPUT] sockets: RCA sockets to output the non-amplified signal, for connecting optional
amplified speakers, remote amplification systems or recording systems. For monophonic signals
connect to the [L(MONO)] socket only.
2.6 CONNECTIONS UNDERNEATH THE MANUALS
2. [MIDI] sockets: five-pin DIN plugs for connecting instruments with MIDI interface.
The [IN] connector allows receipt of MIDI messages generated by remote MIDI sources, the
[OUT] connector sends the MIDI messages generated by the Prestige 60, and the [THRU]
connection sends exactly the same data received at the [IN] connector.
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2.7 CONNECTIONS ON THE REAR PANEL
2
1
3 4
1. [EXT. +12V DC] connectors: these sockets can be used to obtain the +12V DC voltage needed
to supply the VISCOUNT speakers connected to the [MAIN OUT] sockets and/or the
[ANTIPHONAL OUT]. The external boxes can be switched on and off by using the [EXT.SPK.]
switch located on the left side panel.
2. [MAIN OUT] Section: this section contains eight line outputs to which a maximum of eight
speakers can be connected for external organ amplification.
By means of the internal set up functions, which can be called up using the central control unit,
it will also be possible to edit various parameters for these audio outputs (individual volumes,
delays and equalisations) and to set these outputs in such a way as to simulate the wind chests
of the original church organs. These functions called EXTERNAL OUTPUTS CONTROL and
EXTERNAL VOICES ROUTER are described in the “Advanced Manual”.
WARNING!
- Pay particular attention to the fact that a non connected [MAIN OUT] socket also disables
the next ones. This means that if socket [6] is not connected, sockets [7] and [8] will not
work either.
- In order to reach a proper pipes simulation, you have to locate the speakers boxes according
to the output numbers. The speaker box connected to output [1] has to be located on the
extreme left followed by all other speakers connected to outputs [2], [3] and [4] sothat
the last speaker box connected to output [8] will be located to the extreme right.
3. [ANTIPHONAL OUT] section: This section contains four line outputs.
The signals are divided among the four outputs according to the settings in the SET-UP menu
(ANTIPHONAL OUTPUTS SETTING function), of the internal amplification (VOICES
ADJUST function) and the distribution of the individual voice on the external outputs
(EXTERNAL VOICES ROUTER function). All these functions are fully described in the
“Advanced Manual”.
Internal connections by qualified service person only.
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4. [INPUT] section: this section contains the inputs through which the output signal of external
equipment is amplified with the organ’s internal amplification system. The connections are as
follows:
o [L(+R)], [R]: stereo line inputs for connecting instruments with line outputs. For mono
sources use only the socket [L(+R)].
o [MIC]: Microphone input for amplifying any signal coming from a microphone.
o [GAIN]: trimmer for adjusting the input signal connected to the [MIC] input.
NOTE
The volume controls for the manuals, the pedal board and the Orchestra voices are in the
drawer under the keyshelf (see also par. 3), as well as the [SWELL] swell pedal (par. 2.5) also
affect the levels of the audio output signals [MAIN OUT] and [ANTIPHONAL OUT] found
on the back panel and [OUTPUT] in the drawer under the manuals. The only control that
does not affect these outputs is the [GENERAL] trimmer.
EXAMPLE OF REAR OUTPUTS CONNECTIONS
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REPLACEMENT OF THE BATTERIES
Remove the screw located on the back of the remote control, carefully remove the plastic cover and
replace the batteries in the proper place (Do not invert the polarity – see picture below)
ATTENTION – use only CR1220 3 Volts Lithium batteries
3V lithium
battery
positive pole (+) above,
negative pole (-) below
cover’s lock screw
3V lithium
battery
2.8 THE REMOTE CONTROL (OPTIONAL)
1
2
3
5
4
The Prestige 60 can be equipped with a radio remote
control which can be used to control the general
volume of the organ and the main sequencer functions
at a distance. Refer to your dealer to purchase this
device.
The button functions are:
1. [PLAY-STOP]: press repeatedly to start / stop
recording / playback the MIDI sequence.
2. [PAUSE]: stops the MIDI sequence temporarily
during playback.
NOTE
The Led on the [PLAY –STOP] switch indicates the datas transmission of the remote control.
In case of flashing, please replace the batteries located inside the remote control.
3. [AUTO PLAY SONG]: these six buttons can be used to playback automatically the first six
MIDI backing tracks saved on the floppy disk, without the need to press the [PLAY-STOP]
button to start playback.
4. [SONG]: these two buttons can be used to select the MIDI sequences on the floppy disk.
5. [VOLUME]: buttons for adjusting the general volume of the organ.
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CURSORVALUE
START - STOP
GENERALREVERBORCH.
MIDI TO
SWELLGREAT
PEDAL
ENTER
EXIT
METRONOMERECORD
PLAY
DISK
VOICES
MIDI & UTILITY
SET - UP
MENU SEQUENCER
A
A B
B
BA GREAT
PEDAL
SWELL
VOLUMES
1
2
3
4
5
6
3. CENTRAL CONTROL UNIT
The drawer located under the keyshelf contains the central control unit for all the internal functions
of the Prestige 60.
This “Quick Guide” describes the basic functions of this system, for a detailed description of all the
remaining functions and parameters please see the “Advanced Manual”.
1. Display: 40-characters display on two lines showing all the pages relating to the organ’s
functions.
2. Menu selection buttons: these buttons are used to select the four main display function menus,
as follows:
o [VOICES] (described in the “Advanced Manual”): menu of the main functions relating to
the organ voices.
o [SET-UP] (chap. 4): general functions for organ settings.
o [MIDI & UTILITY] (described in the “Advanced Manual”): settings for MIDI interface
and the rear outputs.
o [DISK] (described in the “Advanced Manual”): functions relating to floppy disks and the
files saved in them.
3. MIDI TO section: this section contains the buttons used to activate transmission of the MIDI
note codes on channels A and B of each manual and the pedal board. The LED for each button
shows the transmission status on the relative MIDI channel according to the rule:
o LED on: transmission of note codes enabled:
o LED off: transmission of note codes disabled:
For further information about the organ’s MIDI interface capabilities, see the “Advanced
Manual”.
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ENSEMBLE:2 TEMPERAMENT:Equal
TUNING:0
4. VOLUMES section: these controls are used to adjust the individual volumes of the organ, as
follows:
o [PEDAL]: pedal board volume.
o [GREAT]: Great volume.
o [SWELL]: Swell volume.
o [ORCH.]: volume of the Orchestra voices.
o [REVERB]: regulates the level of the reverb effect.
o [GENERAL]: the general volume of the organ.
5. Sequencer: this section contains the buttons for operating the multitrack sequencer incorporated
into the Prestige 60. The basic functions of the sequencer are described in chap. 5 of this “Quick
Guide”, while a complete description of all the functions can be found in the “Advanced Manual”.
o [PLAY]: this button is used to playback the MIDI sequences recorded
o [RECORD]: button for starting a recording session.
o [METRONOME]: when pressed quickly activates the audio metronome; when held down
for a few moments it calls up the metronome setting page.
o [START-STOP]: starts / stops recording or playback of the MIDI sequence.
6. Display function control buttons: these buttons are used to move the cursor (indicated by a
flashing field on the display), to set values, to select pages and to confirm or reject prompts
from the system.
o [VALUE]: rotary encoder for setting parameters.
o CURSOR [p], [q], [t], [u]: these buttons are used to move the cursor within the page on
the screen.
The [p] and [q] buttons are additionally equipped with LEDs which, when illuminated,
signal respectively the presence of a previous and/or subsequent page to the one currently
showing. Press the appropriate button to see the page required:
o [ENTER]: button for displaying the content of functions or for confirming any prompts
that may appear on the display.
o [EXIT]: button for exiting the current page or for rejecting any system prompts.
Some seconds after the switching on of the instrument, the display will show:
containing the following parameters:
o ENSEMBLE: using this parameter it is possible to set eight levels of natural slight lack of
intonation between one pipe and another in order to simulate the imperfect tunings of organ
pipes caused in time by wear and temperature.
The values range from – (pipes perfectly in tune) to 8 (maximum lack of intonation).
o TEMPERAMENT: this parameter provides a selection of historical temperaments from various
ages and different national origin. A perfectly tuned EQUAL temperament can be selected, or
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alternatively the classic MEANTONE, CHAUMONT, WERCKMEISTER, KIRNBERGER,
PYTHAGOREAN, VALLOTTI and KELLNER.
o TUNING: allows adjustment of the fine tuning of the instrument within a range of ± 50
hundredths of a semiton.
A BRIEF NOTE ON TEMPERAMENTS
In the “natural” tuning system, based on the acoustic phenomenon of harmonic voices, two important musical intervals,
the major third and the perfect fifth, cannot be made to coexist in the “pure” state (i.e. beat-free). Therefore, over the
centuries a variety of compromise solutions known as TEMPERAMENTS have been invented and realised.
These give the priority to one interval or the other, and modify them in various ways..
In ancient times and in the Middle Ages, until the end of the 15
th
Century, the “Pythagorean” tuning system, in which
the fifths were kept perfectly pure, was used. The resulting major third interval was particularly unpleasant and was
therefore considered a dissonance. However, the music of the time was mainly monodic and the first vocal and
instrumental polyphonic forms made wide use of the interval of a fifth. With the early Renaissance and the start of the
great age of vocal polyphony, the interval of a major third gradually came to be heard as a consonance. The instruments
with fixed tuning, such as the organ and harpsichord, were adapted to this situation by using a system of temperament
known as meantone, which gave priority to the major third over the fifth. This temperament is particularly important
since it was in normal use in Europe in the 16
th
and 17
th
Centuries, until the beginning of the 18
th
. Here are the six
temperaments offered by the Prestige 60, first of all the MEANTONE.
MEANTONE
- 8 pure major thirds: E flat – G / B flat – D / F – A / C – E / G – B / D – F # / A – C# / E – G.
- 4 unusable major thirds (diminished fourths): B – D# / F# - A# / C# - E# / A flat - C.
- 1 fifth known as the “wolf” (very dissonant extended fifth): G# - E flat.
- Highly irregular chromatic scale (meaning that chromatic compositions are given a very distinctive voice)
- Keys usable with this temperament: C maj. / D maj. / G maj. / A maj. / B flat maj. and the relative minors.
The temperaments which follow allow all the major and minor keys to be used, although those with the most alterations
have a highly distinctive voice, in contrast with the modern equal temperament.
WERCKMEISTER
This temperament, invented by the organist and musical theorist Andreas Werckmeister, is recommended for performing
the German musical repertoire of the late 1600s.
KIRNBERGER
This temperament, developed by Johann Philipp Kirnberger, pupil of J.S. Bach, is also suitable for playing the German
baroque composers and the works of Bach.
CHAUMONT
This is based on six pure major thirds: D-F# / E-G# : D-F# / E-G# / F-A / G-B / A-C# C-E (this last one slightly flat).
It can be used mainly for French music written between the end of the XVII and the beginning of the XVIII centuries.
PYTHAGOREAN
This temperament, in which the fifths were preserved perfectly pure, dates from the Middle Ages up to the 15
th
century,
and can therefore be used for compositions of that period.
VALLOTTI
This Italian temperament by Francescantonio Vallotti was later taken up in England by Thomas Young. It can be used
with effect for the 18th century Italian repertoire, but also for English music of the same period.
KELLNER
Herbert Anton, born in Prague in 1938 studied physics, mathematics and astronomy at Vienna University. His studies
led him to identify in 1975 the non equal temperament of the same name used by Bach for his “Well tempered Clavier”.
Suitable for German music of the XVIII century and in particular for the compositions of Bach
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4. ORGAN GENERAL SETTINGS
Pressing the [SET-UP] button on the central panel gives access to the organ’s general settings.
The page displayed is as follows:
[TREMULANT] [REVERB] [KEYBOARDS SETTING]
[INT.EQUALIZER] [ANTIPH.OUT]
On the version of the organ equipped with AFC reverb the SET-UP menu consists of two pages:
[TREMULANT] [REVERB] [KEYBOARDS SETTING]
[INTERNAL EQUALIZER]
[EXTERNAL ANTIPHONAL OUTPUTS SETTING]
[AFC EFFECT CALIBRATION]
containing the following selection fields:
o TREMULANT: for setting the Tremulants on each manual.
o REVERB: for selecting the type of reverb required. Balance between the internal reverb and
the AFC reverb (only on the version with AFC reverb).
o KEYBOARDS SETTING: for adjusting the general parameters for the manuals and the pedal
board.
o INT. EQUALIZER / INTERNAL EQUALIZER: for setting the organ’s internal equalizer.
o ANTIPH. OUT / EXTERNAL ANTIPHONAL OUTPUTS SETTING: for setting the rear
outputs [ANTIPHONAL OUT].
o AFC EFFECT CALIBRATION: automatic calibration of the AFC reverb.
NOTE
INTERNAL EQUALIZER, ANTIPHONAL OUT and AFC EFFECT CALIBRATION functions
are described in the “Advanced Manual”.
To select the function required, place the cursor on the relative field using the [CURSOR] buttons
and press [ENTER]. Otherwise, press [EXIT] or [SET-UP] to exit the current menu and return to
the main menu page. Instead by pressing a button in a different menu it will be possible to access
directly the list of functions required.
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4.1 SETTING THE TREMULANTS
The TREMULANT function can be used to set the modulation speed and depth of the tremulants
for each manual. When the TREMULANT field is selected in the SET-UP menu, the display will
show the page:
which shows the two manuals and, on the bottom line, the Depth (modulation depth) and Speed
(modulation speed).
As the display states, the number to the left of the “/”symbol represents the Depth, while the number
to the right is the Speed. To change the values use the [CURSOR] buttons to move the cursor and
the encoder [VALUE].
After making all the changes required, press [ESC] to return to the SET-UP menu and to save the
new settings.
4.2 SELECTING THE TYPE OF REVERB
The REVERBERATION TYPE function allows eight types of reverb to be selected, with different
diffusion and propagation of the reverberated signal, which can be used to simulate the reverberation
of the sound generated by the organ in different ambient settings.
As described in chap. 3, the [REVERB] potentiometer on the centre panel is used to adjust the level
of reverb.
To set the type of ambient effect required, select the REVERB field in the SET-UP menu and press
[ENTER] the following page will appear:
Use the encoder to select the type of reverb and press [EXIT] to save the selection and return to the
SET-UP menu.
NOTE
The organ’s internal reverb also affects the Orchestra voices and any incoming signals through
the [INPUT] sockets on the rear panel and underneath the manuals.
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VERSION OF THE ORGAN EQUIPPED WITH AFC REVERB
The AFC (Active Field Control) module developed by Yamaha Corporation is an innovative reverb
system that makes use of the latest electro-acoustic technology to make certain aspects of the
reverb effect more efficient and natural sounding such as the strength, spatial dimension and reflection
of the sound.
To generate the reverb the AFC controls the acoustic response of the room setting in which the
organ is placed and adapts the characteristics of the effect in relation to it. In this way the organ can
be used in large size rooms avoiding all the undesirable effects which this type of surrounding can
generate, or, on the contrary, the organ can be positioned in a very small room but the same reverb
typical of a large concert hall can be achieved.
On the version of the organ equipped with AFC, in addition to selecting the type of reverb, it is also
possible to adjust the balance between the internal reverb and the AFC reverb. The following page
is used to do this:
!"#$%&&"
The NORMAL/AFC BALANCE parameter adjusts the balance between the two types of reverb,
while the heading on the right shows the current status of the AFC system, more specifically:
- AFC ON: AFC system is turned on
- AFC BUSY: AFC system occupied and is processing data. The reverb is not currently working.
Wait until “AFC ON” appears
- AFC OFF: AFC system is turned off
After making all the changes required, press [EXIT] to return to the SET-UP menu and to save the
new settings.
4.3 GENERAL SETTINGS FOR THE MANUALS
The KEYBOARDS SETTING function contains four main parameter settings for the manuals and
the pedal board. The first of these, which can be called up by selecting the KEYBOARDS SETTING
field from the SET-UP menu, is RANKS DISTANCE (described in the “Advanced Manual”).
Now by pressing the CURSOR [q] button the PISTON COMBINE and KEYBOARDS
INVERSION parameters can be called up.
GREAT/SWELL KEYBOARDS INVERSION:disable
GREAT/PEDAL PISTON COMBINE:disable
Using GREAT/SWELL KEYBOARDS INVERSION the positions of the Great and the Swell can
be inverted.
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Viscount Prestige 60 Quick Manual
- Category
- Sequencer
- Type
- Quick Manual
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